Hawthorne's Rappaccini's Daughter
This essay focuses on the way Hawthorne’s “Rappaccini’s Daughter” articulates the tension between the spirit and the empirical world. Hawthorne challenges the empirical world Rappaccini, both malevolent for his experimentation with human nature and sympathetic for his love for his daughter, represents, by raising an aesthetic question Rappaccini implicitly asks. Hawthorne never conclusively answers this question in his quest to preserve spiritual beauty in an empirical world, offering the most disturbing possibility of all: could art and the artist prove as fatal to the human spirit as empiricism?
Hawthorne’s sinister representation of Rappaccini early in the story belies this self-isolating character’s complexity and his overriding desire to protect his daughter from the “miserable doom” (942) she nonetheless suffers by creating her as a poisonous body, dangerous like her “sister” plant in the garden. Rappaccini is first presented to us “a tall, emaciated, sallow, and sickly-looking man, dressed in a scholar’s garb of black.” He “could never, even in his more youthful days, have expressed much warmth of heart,” appearing as a somber figure apparently morose and removed from love at the tale’s beginning. Hawthorne opens the story in an allegorical framework he draws from Dante’s Inferno by presenting Rappaccini as a seemingly fixed character: his “demeanor was that of one walking among malignant influences,” or “influences” that signal his role in the tale both as evil, since he walks among the “deadly snakes, or evil spirits” (925), and as Adam, the first man encountering evil in the Garden of Eden. Rappaccini’s dubious, if not entirely evil character as “the distrustful gardener,” along...
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...” in a practical world that threatens the spiritual one with its evil? Obviously, Rappaccini’s answer in his self-imposed isolation and experiment with Giovanni and Beatrice fails; rather, his attempt to ameliorate the poisonous effects of the physical world on the spirit only attracts a greater, more deadly poison—the dark aspects of human nature. He gives a dissatisfying alternative in Baglioni’s last, mocking line to Rappaccini, one in which the empirical horrors have, in the end, killed the spiritual essence along with Beatrice. It is a lesson not just about the dangers of science, then, but also about the dangers of human nature and its capacity for evil, from which art cannot lift us. Hawthorne’s bleak view of the scientist and the artist proposes a perfect world no one—not Rappaccini, not Giovanni, not Hawthorne—can achieve, even with the best of intentions.
On the surface, a beautiful, poisonous girl and a preacher shadowed by a black veil share no similar characteristics. However, in the works of Nathaniel Hawthorne, these characters share two remarkably comparable stories. The Minister’s Black Veil and Rappaccini's Daughter both share the symbolic use of colors, yet the characters’ relation to the outside world deviates. Hawthorne expertly contrasts colors to illustrate the battle of good against evil. In The Minister’s Black Veil, Mr. Hooper’s black veil contrasts sharply against the pale-faced congregation, just as Beatrice’s likeness to the purple flowers, described as being able to, “...illuminate the garden,” contrasts the darkness of Dr Rappaccini’s black clothing. These clashes of colors
Hawthorne's "The Birth-Mark" deals with the discrepancy between the strength of nature and the strength of science. Hawthorne's protagonist, Alymer, represents the world of science, whereas the strength of nature is represented by the birth-mark on Alymer's wife Georgiana's face. Alymer becomes obsessed with her birth-mark and, using his scientific knowledge, attempts to remove it. In this essay, I will show that Alymer's obsession results from his scientifically influenced way of thinking in categories, and also from his arrogant perfectionism, two character traits which are shown in this excerpt from the text. These character traits interfere with his moral conscientiousness and eventually caquse his downfall at the end of the story.
In “Rappaccini's Daughter,” Dr.Rappaccini is visibly the most insane character. He is described as, “But as for Rappaccini, it is said of him-and I know the man well, can answer for its truth that he cares infinitely more for science than mankind” (Hawthorne, “Rappaccini’s Daughter” 4). Dr. Rappaccini cares
In Nathanial Hawthorne’s “The Birth-Mark,” Aylmer, a crazed, “mad-scientist,” seeks to remove the scarlet handprint birthmark from his wife, Georgiana’s cheek. From the opening of the work, the third person narrator describes Aylmer’s obsession with science and the adverse effects it has had on his social life. Aylmer is tied up in this battle within himself and with his assigned association between the natural and the spiritual world. He wishes to have as much control over these colliding worlds as possible, granting himself god-like power and control in the process. In the art of manipulating nature through science, Aylmer believes he is able to alter the spiritual aspects of the natural as well. Aylmer’s focus on spirituality is Hawthorne’s way of commenting on mankind’s fixation on sin and redemption.
Conclusively, Shelley’s Gothic piece accentuates a cautionary tale of man’s destructive desires of conquering science and the secrets of life. Scott extends Shelley’s premise as he presents our possible future, utterly devoid of nature due to man’s destructive pursuits. The bible states ‘he that increaseth knowledge increaseth sorrow’, reflected by man's destructive desires in both pieces.
In four of Hawthorne's stories there is a struggle for power and control as a vehicle to obtain perfection or beauty. In "The Artist of the Beautiful", "Rappaccini's Daughter", "The Birthmark" and "The Prophetic Pictures" the characters are controlled by their desire for perfection in their creations, but they do not achieve their goals without sacrifice.
Hawthorne’s stories young goodman and rappaccini's daughter both compare to the biblical tale of the garden of eden. in the next few paragraphs you will see how they are alike.
Nathaniel Hawthorne's Rappaccini's Daughter is perhaps the most complex and difficult of all Hawthornes short stories, but also the greatest. Nathaniel Hawthorne as a poet, has been characterized as a man of low emotional pressure who adopted throughout his entire life the role of an observer. He was always able to record what he felt with remarkable words but he lacked force and energy. Hawthorne's personal problem was his sense of isolation. He thought of isolation as the root of all evil. Therefore, he made evil the theme of many of his stories. Hawthorne's sense of the true human included intellectual freedom, passion and tenderness (Kaul 26).
Beneath Christina Rossetti’s poetry a subtext of conflict between the world of temptation and the divine kingdom exists. Hugely aware of her own and others desires and downfalls her poetry is riddled with fear, guilt and condemnation however her works are not two dimensional and encompass a myriad of human concerns expanding beyond the melancholy to explore love and fulfilment.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Fabricating a type of the romantic artist who has radically creative powers that he exercises, Hawthorne creates in “The Birth-Mark” an extreme situation that bares the fundamentalism of the transcendental aesthetic. Accepting the premise that the artistry of nature, regardless of the apparent coarseness and lack of finish that some products may exhibit, is superior to the artistry of humanity because nature "works from the innermost germ," Hawthorne was initially critical of any discontent with the quantity and quality of nature's bounty. Should the reader emphasize Aylmer's Neoplatonism and his quest for ideal beauty, the disjunction between drama and assertion assumes a thematic function: it is Hawthorne's means to test the values of the ideal artist. Hawthorne even more
This paper will concentrate on the definition of human nature, the controversy of morality and science, the limits to scientific inquiry, and how this novel ties in with today’s world. Mary Shelley’s novel Frankenstein expresses human nature specifically through the character of the “Creature” and its development. The Creature has an opportunity to explore his surroundings, and in doing so he learns that human nature is to run away from something so catastrophic in looks. The Creature discovers that he must limit himself in what he does due to the response of humans because of his deformities. I feel that Mary Shelley tries to depict human nature as running away from the abnormal, which results in alienation of the “abnormal.”
The Role of Women in Rappaccini's Daughter, The Prophetic Pictures, Lady Eleanor's Mantle, and The Birth-Mark
In the Nathaniel Hawthorne tale, “Rappaccini’s Daughter,” we see and feel the solitude/isolation of the scientific-minded surgeon, Dr. Rappaccini, likewise that of his daughter, Beatrice, and finally that of the main character, Giovanni. Is this solitude not a reflection of the very life of the author?
How far reaching is the bond between father and daughter? To most, that bond serves to protect the child until she is able to protect herself, and then for her to be independent. For Dr. Giacomo Rappaccini and his daughter Beatrice, that bond was to be twisted and ultimately fatal for Beatrice. Beatrice, by her father's plan was never to be free and independent but rather isolated from the life of the world and dependent on the poison from her father.